A Quote by Shavo Odadjian

I didn't know you had to do so much to be a director. I thought, 'I can do it. I can write a treatment.' I didn't know about shot lists. — © Shavo Odadjian
I didn't know you had to do so much to be a director. I thought, 'I can do it. I can write a treatment.' I didn't know about shot lists.
Breakfast Club was great because we had a real rehearsal, and we shot primarily in sequence. I thought that was going to be how movies were done. I didn't really know how lucky we all were. We had a director that liked actors. I didn't know that was going to be rare.
I had been composing just for myself, and people would say I played so orchestrally, and wondered if I thought about having someone write a piece for me for an orchestra. And I thought, I don't want someone else to write that. You know I finally had made an overhead chart of my drums and what pitches the cymbals and toms were tuned to, and what have you. And I started to compose just with what I had for my solo drumming.
The non-fiction bestseller lists frequently prove that we all want to know more about everything, even if we didn't know that we wanted to know - we're just waiting for the right person to come along and tell us about it.
Nixon had lists upon lists upon lists. They were tragic lists saying, 'Smile more,' or, 'Be stronger - remember, it is your job to spiritually uplift the nation.' This understanding of his limitations is heartbreaking.
I never know which camera is on me when I'm dancing and the director picks the shot he likes but it usually isn't the best shot for showing the steps I want the audience to see.
If I had stood at the free-throw line and thought about 10 million people watching me on the other side of the camera lens, I couldn't have made anything. So I mentally tried to put myself in a familiar place. I thought about all those times I shot free throws in practice and went through the same motion, the same technique that I had used thousands of times. You forget about the outcome. You know you are doing the right things. So you relax and perform.
I write about the power of trying, because I want to be okay with failing. I write about generosity because I battle selfishness. I write about joy because I know sorrow. I write about faith because I almost lost mine, and I know what it is to be broken and in need of redemption. I write about gratitude because I am thankful - for all of it.
The best thing to do is to write about what you know, and if you write about what you know you can always pull those nice little tidbits that hook people, that shows that you know about this world and can bring people into a world that they may not know nothing about.
The thought of a spa treatment is lovely, but I'd be lying there having a massage and worrying about how much I had to do. I'm not very good at relaxing!
I have always lived my life by making lists: lists of people to call, lists of ideas, lists of companies to set up, lists of people who can make things happen. Each day I work through these lists, and that sequence of calls propels me forward.
I never know the endings when I write. It's a turnoff when you know the ending. You lose much of your incentive to write when you already know. It's like seeing a movie a second time.
With "Margaret," I remember clearly it was, you know because I did remember it clearly. I was young. I was young in terms of experience and what did I know about and I had an incredible memory from my own childhood. And so it never occurred to me to write for any other age group. And I thought I'm going to write a book and I'm going to tell the truth.
For years I've wanted to write about the Australian countryside, but, like most Australians, I've only got a tourist's knowledge of it. I thought that if I disobeyed that basic rule of writing - write about what you know - I'd write a thin and inauthentic book.
People say to write about what you know. I'm here to tell you, no one wants to read that, cos you don't know anything. So write about something you don't know. And don't be scared, ever.
I learned a lot about filmmaking from my dad. Starting when I was a child, I would listen to my dad as an actor, writer, director and producer talking about films - you know what the treatment would be in the opening, in the middle, and in the ending.
I had to get a job, and of course, the job was 'The Godfather.' That made me be something I didn't know I was going to be. I became a big-shot director.
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